life

When Andrea Werhun started writing her memoir, “Modern Whore,” nearly a decade ago, she was afraid to be honest about working as an escort and stripper. But she embraced going public to “use storytelling to advocate for the plight of sex workers.”

In the documentary version of “Modern Whore,” directed by Nicole Bazuin, Werhun has gone not one, but several steps further. Werhun, 36, is not only the main interview subject, she’s also the frequently topless star of all the vividly depicted reenactments of her experiences. The documentary also features bright colors, funky music and an often jaunty tone.

Werhun, who started escorting in college and still does sex work even while pursuing writing and acting, was a consultant on Sean Baker’s “Anora,” and he served as a producer here, offering feedback on their script and numerous cuts of the film. It premiered at the Toronto International Film Festival in 2025 and is now available on video on demand.

Werhun and Bazuin recently discussed the film’s style and goals in a joint video interview edited for length and clarity.

How much were you consciously trying to make this different from other documentaries about sex workers?

Bazuin: I wanted this to feel like a storybook come to life — we literally jump inside Andrea’s book with Andrea as our storyteller and reenactor of her own experiences. People might expect a film about sex work to be be drab or dour, and we wanted to confront that right away with vivid colors and a stylized expressionistic mode that can support all the moods of her experiences. Stylized films sometimes can contain more truth than realistic forms.

Werhun: Cinema verité, which is typically how sex workers are portrayed in documentaries, inevitably comes off as voyeuristic.

Most documentaries about sex work don’t include R-rated reenactments starring the film’s subject. Why include that?

Bazuin: We wanted to disrupt expectations audiences might have and to make it a more human portrait.

Werhun: I love performing and I’d love to have an acting career and this was an excellent showcase of my abilities.

But also it would feel censored if there weren’t any tits, if there were no sex scenes in a film about sex. I’m not ashamed of the fact that I’ve used this body to make a living. Nicole and I crafted the scenes meticulously to convey a point that is artistic, funny and educational.

Bazuin: The movie runs the gamut tonally. It’s a “Trojan whore” for a feminist and sex worker manifesto for political and social change, so we also show the challenges and the assaults that Andrea experienced because we want laws that would make this work safer, including the decriminalization of sex work.

Andrea, why interview your boyfriend and mom on camera?

Werhun: The sex worker stereotype is that we’re isolated and vulnerable, with no support systems; that stereotype makes predators think we’re easy victims. I wanted to dispel the idea that we are incapable of having loving, meaningful relationships.

This is presented as a film memoir yet you then include other sex workers’ perspectives.

Werhun: Unfortunately, when it comes to sex work storytelling, there is a proliferation of cis white, educated women and those tend to be the stories that get platforms. But that experience is minute compared to the wide range of sex workers, so it was vital to expand the narrative to include other perspectives, whether it’s race, gender orientation or class. What we have in common is that we all deserve to be treated with respect and dignity.

You say you’re rewriting the usual story of sex workers as victims or villains but you were a victim, both of exploitative working conditions and sexual assault. Will sex workers always be victimized without legal protection?

Werhun: Most of our clients are not bad people, they’re paying for a service we’re willing to provide. But under any criminalized model, there is inherently exploitation and people don’t feel safe accessing justice. If we don’t have labor rights, we’re going to be victimized. Even strippers are not comfortable going to the police.

We’re fighting a society that wants to keep our work in the dark, to pretend that this isn’t happening, that it can be abolished by throwing people into prison. Criminalization is harmful and guarantees there are more victims.

Where does OnlyFans fit into the sex work equation?

Werhun: The beauty of escorting and stripping is that you can dip in and out. With OnlyFans you’re working 24/7, creating content, interacting with your fans and doing constant self-promotion. With sex work in person, no one has to know about it but OnlyFans will follow you for the rest of your life. I did it for a year and a half and it paid my rent but it’s not my preferred type of sex work. It’s great for people who live online.

How did audiences respond to the film at festivals?

Werhun: Obviously, creating this film was a trust fall. The film is a song and dance on behalf of all whores, trusting humanity to hold me and not hurt me. I was pleasantly surprised by how audiences warmly embraced it. Some people were working through their prejudices in real time and it’s amazing to watch them transform. We hope the film can inspire social change. If it pulls your heartstrings, then when issues of criminalization and legal change arise, people might say, “I remember that movie and I think whores deserve to have equal rights with everybody else.”

FOR almost four decades, Kylie Minogue has soundtracked our lives with anthems of love, joy and heartbreak.

While her own personal life has seen both stellar highs and crushing lows — including failed romances, and cancer — she has kept calm and carried on, and on, then on some more.

As for those gold hotpants from her 2000 video for disco belter Spinning Around, they brightened up all our lives, to the point they are now under lock and key in a museum.

But as Kylie, 57, sits down with me for her only newspaper chat ahead of her self-titled Netflix docuseries that airs on Wednesday, she insists she is just like the rest of us when heartbroken.

In the TV tell-all, she recalls her devastating 1991 split from the late INXS frontman, Aussie Michael Hutchence, after a passionate two-year romance — and how she slept on a pal’s sofa in Paris while unable to face the couple’s old stomping grounds in Oz and the UK.

She had previously also dated Aussie actor-singer Jason Donovan — and when I ask if she’s ever “gone full Bridget Jones”, liked the unlucky-in-love soul of movie fame, she swiftly replies: “Oh, 100 per cent.

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“I’ve had different relationships that all shaped me. Of course, I talk about Michael. I’ve also got Jason Donovan, who speaks so amazingly in the documentary.”

During the Netflix special, Kylie recalls how she struggled post-Hutchence — and tells viewers: “I didn’t know where to go or what to do. I knew I didn’t want to be in London and I didn’t want to be in Australia, so I went to Paris.

“I remember having a tiny English to-French dictionary. I didn’t know anyone, but had two numbers on a bit of paper. One of those was a friend of a friend of a friend of a friend of mine.

“She lived with a girl called Kat, who is now my oldest, best girlfriend. I moved into her apartment, got a sleeping bag and slept on the sofa. I was feeling heartbroken.”

Keen not to sugarcoat her life for Netflix, Kylie let director Michael Harte retain total creative control, even when she may have liked some bits left on the cutting-room floor.

In one episode, her former Neighbours co-star Jason remembers the moment Kylie left him for rocker Michael — explaining how they met him after an INXS gig before Jason watched the pair disappear into a hotel bathroom together.

Jason admits: “He wasn’t interested in me. I could sniff that a mile away. And she disappeared with him into the bathroom, which is fine. You know, we’re grown-ups.”

Reflecting on that evening, Kylie adds: “After the gig, Jason and I were invited back to the after-party. I would have been a bit like, ‘How did we get here?’ We were just talking about singer stuff.”

Kylie has been single since splitting from GQ magazine boss Paul Solomons in 2023, and insists she does not need a man to feel complete.

When I ask if she is happy, All The Lovers singer Kylie replies with a smile: “I’m super-happy, yeah.”

She told the Sunday Times’ Style magazine yesterday: “I don’t have a boyfriend. I was in a relationship, and when that ended, I realised I was OK on my own. I’m getting pickier. Narcissists . . . I’ve dated one and I’m grateful I now have that knowledge. That’s my red-hot ‘no’.”

Similarly, when Kylie and I last chatted, in October 2024, the I Should Be So Lucky singer told me: “There’s no one significant in my life and I feel content. I feel like this is my destiny right now.”

But she STILL fiercely believes in love — and enjoys watching it bloom for others.

We first met in 2023 while she was promoting 16th album Tension. I was shamelessly chasing a boy and, on my way to her Claridge’s hotel suite, bought a bottle of Kylie Prosecco for her to sign for him.

After our chat, she agreed, writing his name on the bottle and wishing me luck in my romantic pursuit. The next summer, he was my boyfriend.

During a brief meeting in 2024, at the British Summer Time festival in London’s Hyde Park, I thanked her for the part she had played. “See, I’ve still got it!” she happily told her team, punching the air.

But by the time we crossed paths in May 2025, outside her dressing room as she played London’s 02 Arena for her Tension world tour, I was single once more.

I mentioned I was seeing her show again the next night and bringing my ex. “Ooh, what’s the goss?” Kylie asked. Laughing awkwardly, I admitted I wished we were still together.

Meanwhile, in episode two of her Netflix series Kylie wells up as she admits she has been searching for a love like she shared with Michael ever since their 1991 breakup.

Kylie says to camera: “I haven’t quite got it. I’ve probably been looking for something like that ever since.

“He was a first for so many things and one was heartbreak. I was devastated. He was a rock star, which doesn’t just mean that he needs many women in his life, but he needed to go where he needed to go. But I know from people in his circle that he talked of me and thought of me. We were good together.”

Shrugging off the emotion, Kylie adds: “Shoulda, woulda, coulda  — whatever. But it was an amazing time. The memories make me feel good, even if I’m getting teary. It was good to have someone, to feel like you were a good team. I’m fortunate. The emotion and the memories I have with that time — I just felt protected, nurtured, valued, and believed in.”

Recalling Michael’s funeral in 1997 in Sydney, after he died at just 37, Kylie says: “At the church it was overwhelming, the outpouring of love for him. I felt him saying, ‘It’s OK. It will be OK’. I always feel he’s with me.”

But as we chat, Kylie wishes she had “stressed less” over the course of her career, and she admits she sometimes “didn’t manage it well”.

I am also relieved that — like me when love’s course goes awry — this global superstar so indentifies with Bridget Jones, as played in the films by Renee Zellweger.

In the series’ first film, Bridget Jones’s Diary, in 2001, the pyjama-clad protagonist has break-up blues as she clutches a bottle of wine and belts out power ballad All By Myself.

I doubt Kylie’s go-to heartbreak fixes are the same as my budget pairing — a £4.99 supermarket Pinot Grigio and Cadbury popping-candy chocolate bar. But I do recommend them, Kylie.

Of course, the other bombshell in Kylie’s life came at just 36 when, in 2005, she was diagnosed with early-stage breast cancer.

She had to pull out of a Glastonbury set and part of her Showgirl: The Greatest Hits Tour to undergo a lumpectomy as well as chemotherapy.
The next year she was in remission and given the all-clear.

But Kylie tells Netflix viewers: “I felt removed from my body. I was so scared of what was ahead of me.” Her singer sister Dannii adds: “We didn’t know, if she was ever going to be well again.”

It is hard to believe, though, how she has kept much of her off-stage life little known about.

When I put this to her, she nods and says: “It’s like, is there a monster under the bed? You build up this fear of telling.”

But she adds: “There’s enough behind me, and in front of me, that now has made it a good time. And what am I so scared of? It’s been a good exercise to have a look back at life, and find acceptance.”

In the docuseries, Kylie admits she was “riddled with self-doubt and anxiety” — and that those feelings still rear their head.

Kylie, who wrapped up her 66-date Tension tour last year, tells me: “I still have anxiety and self-doubt. No, not all the time, but a healthy amount is good.

“I know what I’m doing more now, which is satisfying. There’s definitely moments but that doesn’t permeate through.”

Although Kylie is now a superstar, she got there through steadfast resilience — proving critics wrong time and time again.

Her decision to quit Aussie soap Neighbours at the height of its success — when 24 million daily viewers was commonplace — was deemed by many as crazy.

Indeed, so popular was the soap that when Princess Diana missed just two episodes, she called up the BBC to ask after recordings.

Kylie’s sixth studio album, 1997’s Impossible Princess, was savaged so brutally by critics that radio stations refused to play her singles. A billboard even told the world Kylie was “over”.

Yet nearly three decades later, the 5ft powerhouse has never been more beloved. In December, she landed her eighth UK No1 single, ,and her first festive chart-topper, with Xmas.

A seasoned pro with interviews, Kylie usually has a slick answer ready for any question. But when I ask what she would say to her younger self, she takes her time before replying: “I still don’t know what’s ahead of me now — but I especially didn’t at 16.”

During the Netflix series, Kylie hits back at a suggestion she might be ready to slow down soon.

“Tell that to Cher and Barbra [Streisand]” she quips.

Both are plenty older than her — Cher recently turned 79 and Barbra 84 — and Cher, in particular, is still dusting off her suspenders and stockings for performances.

So, can we expect to see Kylie still doing The Locco-Motion at 80?

Beaming, she replies: “With all my heart, I hope so, yes.

“But how I’ve done this is, I am not a planner, I like to be fluid. I have a loose idea, I know what I want to do — but, yeah, maybe next week or this month.”

But while Kylie may still be up on stage in 2049, her famed gold hotpants will not. They are in a museum in Melbourne, Australia — but Kylie beams at my idea they belong in the Louvre museum in Paris, with the Mona Lisa painting.

Kylie says of the hotpants: “That would be amazing. But I bought them for 50p — my girlfriend found them in a secondhand store. I wore them quite rigorously so they’re fragile and the museum have said they have got to stay flat. They are in preservation mode.”

I also ask if “Kylie the pop star” ever feels like “Kylie the person” is forgotten.

But she feels fans want her to be both, adding of time on stage: “It’s a place for me to harness everything I’ve worked for and that I feel, and be expressive.”

The word “icon” is overused, but when I tell Kylie she is one, she replies simply: “I try.”

For more than 40 years, Barry Walters has been closely watching the dance floors of New York and San Francisco, chronicling the ways in which LGBTQ+ culture has influenced mainstream culture. As a writer for the Village Voice, the Advocate and Spin, among others, Walters became one of music journalism’s most eloquent and crucial voices, championing artists like the Pet Shop Boys and Madonna during their formative years.

Walters’ new book, “Mighty Real,” draws on his deep firsthand knowledge, offering a comprehensive history of LGBTQ+ music from 1969 to 2000. I recently spoke with Walters about Babs, Madge and Bowie.

✍️ Author Chat

In the book, you make a distinction between pre-Stonewall LGBTQ music and post-Stonewall LGBTQ music.

Gay culture before Stonewall really had to be hidden, or at least secretive. I think of Barbra Streisand as a quintessential pre-Stonewall figure. Judy Garland, as well. These women are tough, and even though they sing songs written by men, it’s not in a submissive way. They are singing like they are the champions, even when they are suffering through what men do to women through the torch songs they perform.

What can you say about the encoded nature of certain songs that spoke to gay culture in a way that flew under the radar of hetero listeners in the pre-Stonewall era?

The music that spoke to gay culture, by necessity, had to be encoded. “Secret Love” by Doris Day is a good example. It’s about struggling to have something that’s otherwise forbidden. Sinead O’Connor covered that song. There was a song I loved as a young child called “Have I The Right?” by the Honeycombs, which was written by two British gay men at a time when homosexuality was illegal in England. You know, have I the right to be with whomever I want to be with?

What, in your view, was the big bang of post-Stonewall LGBTQ music?

David Bowie to a large degree. Right around the time that “Hunky Dory” was being released in 1971, he told the Evening Standard newspaper that he was gay, flat out just said it. And it was such a strange thing to say that many people doubted his sincerity.

Barry Walters, a writer for the Village Voice, the Advocate and Spin, among others, wrote a new book about the history of LGBTQ+ music.

(Kelly Lawrence for Walters)

I remember seeing Bowie wearing that dress on the cover of “The Man Who Sold The World,” thinking that was the most transgressive act any rock star had ever committed.

And then he performed “Starman” on Top of the Pops in 1972 and he put his arm around his guitarist Mick Ronson, who also looked gorgeous. They were displaying a familiarity men aren’t supposed to have.

I thought I knew everything about pop music, but you have uncovered so many fascinating stories. Tell me about Olivia Records.

Olivia Records was an independent record label in the Bay Area owned and controlled by lesbians for female artists. This is years before punk or indie rock, when so many small labels cropped up. They pioneered so much. They would recruit fans in different cities to man the merchandise and to help get their records in stores. The idea of a merch table was something new at the time. They also created the forerunner of Burning Man. They would go find a farm somewhere and create an impromptu village, with food, sanitation and the rest.

You have given the most space in your book to Madonna, whom you have written about extensively over the years. Why is Madonna such a huge figure in the history of LGBTQ music?

Her art is so queer. I feel like she is one of us. She’s very much like Grace Jones, in that her sensibility is so aligned with gay culture. I related to Madonna on multiple levels. In the early ‘80s, I would see her around town, dancing at the same New York clubs I was frequenting, like Danceteria. She was steeped in gay culture, and then she brought all of this into the mainstream, and that was profound. I also feel like she was misunderstood in many ways. When straight men called her a slut, things like that. That is so far from the truth. She is such a complex artist. If you are making that claim, you don’t know anything about her.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

(Javier Pérez / For The Times)

Pulitzer prize winner Elizabeth Strout has a new novel called “The Things We Never Say,” and Julia M. Klein approves. “[Strout] reprises her familiar themes: the mysteries of human personality, the perils of solitude, the occasional possibility of grace … in deceptively simple, occasionally mannered prose that draws readers in and immerses them in her fictional worlds,” Klein writes.

They’re on a boat! Paula L. Woods climbed aboard a 130-foot yacht in Marina del Rey to soak in the vibes of the Yacht Girls Book Club. “I wanted conversations with like-minded women that were intellectual but fun,” club founder Aloni Ford told Woods. “And talking about books seemed to be the ideal way to achieve that.”

“PEN15” co-creator Anna Konkle has written a memoir called “The Sane One,” and Rachel Brodsky talked to her about it. “In some ways, ‘PEN15’ was a reaction to loving memoirs,” she tells Brodsky. “Raw memory has always been very exciting to me.”

Finally, our Times critics take the measure of this summer’s hottest beach reads.

📖 Bookstore Faves

Kinokuniya bookstores sell Japanese manga, stationery and literature.

(Courtesy of Kinokuniya)

When Kinokuniya opened its first L.A. shop in 1977, it was primarily to provide Japanese expats with imported books and magazines to read in their native tongue. Forty years later, the store has become a locus of Japanese printed matter for Angelenos eager to scoop up Japanese literature and manga in Japanese and English, as well an expansive selection of imported stationery products that, in L.A., can only be found in Kinokuniya’s three stores. I spoke with Sakura Yamaguchi, who manages two of Kinokuniya’s stores downtown (the third is in Mar Vista) about its many-splendored pleasures.

How did the store travel from Japan to Los Angeles?

Books Kinokuniya was founded by Moichi Tanabe in 1927. Located in the Shinjuku district of Tokyo in a two-story wooden building, the first Kinokuniya started with five employees, including Mr. Tanabe himself. In 1969, Kinokuniya opened its first overseas bookstore in San Francisco. The first Los Angeles store opened in 1977.

Who are your customers?

We first started as a store for Japanese customers, so we imported Japanese books and magazines and sold them, mainly. But in the past 10 years, Japanese manga/anime, stationery and literature has been quite popular in the U.S. Therefore our customers are a mix of Japanese-speaking customers and non-Japanese speakers who are interested in Japanese culture.

What percentage of your clientele buys Japanese–language products?

Forty percent Japanese-language products versus 60% English books.

What specific titles are selling for you right now?

“Witch Hat Atelier Grimoire Edition, Volume 1,” “JoJo’s Bizarre Adventure: Purple Smoke Distortion” and the “Strange Houses” series.

Are you seeing more young people turning to printed matter? It seems like there is an analog revival at the moment.

We have been trying to make exclusive editions that come with freebies to make the printed manga more attractive, but without that our English manga sales have been increasing and our main target for the manga is young people. There are many titles that are published exclusively in e-book format, but we frequently hear from customers asking when they will be released in print form. Also, recently there has been a growing number of cases where titles that were originally available only in digital format have later been published as physical books.

Kinokuniya at the Bloc in Los Angeles is located at 700 W 7th St.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

Gogglebox star Ken Harwood from County Durham has died aged 77 following a short illness, with Channel 4 and fans remembering the beloved TV personality as a “legend”

The Gogglebox family is mourning the devastating loss of beloved former cast member Ken, but what do we know about the cherished TV personality?

Ken made his debut on the enduring Channel 4 series in 2021 during the opening episode of series 17, appearing alongside his wife Anne – and the pair swiftly captured viewers’ hearts.

The County Durham duo graced our screens for five series before departing in 2022. Tragically, this week brought news that Ken had passed away following a brief illness, at the age of 77.

But what’s the story behind Anne and Ken’s enduring marriage? And what touching moment did Ken create during their Gogglebox debut? Here’s what we know about Ken.

Born in Consett, County Durham in 1948, Ken dedicated three decades to working as a postmaster before transitioning into local council work. He eventually stepped back from public life in 2013, reports Chronicle Live.

While details about Anne remain relatively private, she shared more than half a century of marriage with Ken. Their inaugural appearance on the programme featured a particularly heartwarming scene when Ken surprised Anne with a stunning bouquet of roses.

During the episode, Anne graciously accepted the gorgeous arrangement, exclaiming: “God they are beautiful.” Ken then revealed there were 50 roses, representing each year of their life together.

Anne responded: “You have put me to shame now with a card and roses, and I got you nothing. But you have me and that’s all you need.”

In a separate episode, Anne had viewers in stitches with her brilliant reaction to Ken’s ill-timed sneezing bout. As the sneezes began, Anne attempted to halt them by reciting a rhyme, where each sneeze supposedly brought him something special.

Anne reckoned Ken had bagged a wish, a kiss, a letter and something better. But then she drew a blank on how it continued. In the end, she quipped: “Oh hell, here we go.”

Gogglebox announced Ken’s passing on Friday (May 15). In their statement, they shared: “Ken will be dearly missed by his wife Anne, sons Simon and Ross, daughter-in-law, Elle, grandchildren Freya and Tristram, and all who knew him.”

They added: “There will be a tribute to Ken at the end of Channel 4’s episode on Gogglebox tonight.” As word spread of the devastating news, fans poured out their grief. One wrote: “Sad news.” While another commented: “Rest easy legend.”

Gogglebox airs every Friday at 9pm on Channel 4

The BBC has confirmed that a comedy that had viewers ‘howling’ will be back for a third series

A BBC comedy that had viewers “howling” with laughter is set to return.

Mammoth, which is about about a PE teacher from the 1970s getting a second chance at life, started in 2024 before returning for a series two. And now the broadcaster has confirmed that it will be back for a third run, with filming due to start in Wales this year.

Starring Death Valley‘s Mike Bubbins as Tony Mammoth and Car Share ‘s Sian Gibson as his daughter, the series followed the teacher when his body was discovered frozen in time, after he was thought to have died in an avalanche during a school trip in 1979. He then attempts to rebuild his life in a world that has completely changed.

The BBC said the next series, which will be comprised of five episodes, will see Tony still trying to fiund his place in society “but due to his thin skin and inability to keep his thoughts to himself, he often puts his big retro shoes in it, on all fronts”.

“I can’t wait for people to see the next adventures in the life of Tony Mammoth,” said Mike. “He’s back funnier, bolder, and dafter than ever.

“When I first came up with the idea, I didn’t dream that in a few years it would be back for a third series.

“It’s once again been a lot of hard work for me, Paul Doolan and Luke Mason (co-writers), although when the three of us spend our days in a room together laughing, I’m reminded that it’s not exactly the same sort of hard work that my grandad did toiling away as coal miner for 50 years.

“Although, in fairness, we have both never won a BAFTA. So make sure you watch the new series, and don’t forget… Mammoth is the word!”

Josh Cole, CCO of BBC Studios fiction and comedy, says: “We’re delighted to be delving deeper into Mammoth without leaning too far into the traumatic decades he spent frozen alive in the ice.

“We’re so proud of this show: a big, bold, laugh out loud creation from a unique voice.”

The BBC’s director of comedy Jon Petrie said the series was “warm, daft, joyful and full of heart”, adding: “Audiences have really taken Tony Mammoth and his ridiculous misadventures to their hearts too, and we’re very proud to keep backing such brilliant original comedy from Wales.”

Mammoth has been popular with viewers since it began two years ago, with one person on Imdb calling it “a cracking comedy” and a Reddit user saying it was “one of the best recent comedies”.

“I was f****** howling,” said someone else, as one critic called it “an absolute gem of a comedy”.

Mammoth will return for a third series on BBC iPlayer, BBC Two and BBC One Wales.

Considering the amount of comedy that was dropped on L.A. last week for the third Netflix is a Joke Festival, the idea that anyone can see it all is laughable. Yet of course, like fools, once again we tried. Between big outdoor shows, theaters and intimate club gigs, the seven day smorgasboard of stand-up, improv, variety shows, marathons and more was a wild ride we won’t soon forget. Here is our list of the funniest shows we saw at Netflix is a Joke 2026.

Monday, May 4

Ron White, from left, Jim Jefferies, Sam Jay, Shane Gillis, James McCann and Dan Soder at the Hollywood Bowl.

(Adam Rose / Netflix)

Shane Gillis and Friends
Hollywood Bowl
As a sea of comedy fans filled up the Hollywood Bowl to kick off the first outdoor event at Netflix is a Joke, Shane Gillis brought the energy of a season-opening football game to L.A.’s biggest bandshell. Commanding a solid roster of veteran comics including James McCann, Sam Jay, Ron White, Dan Soder, and Jim Jeffries, Gillis took on the role of a grizzled and playfully perverse football coach hosting the night and telling funny stories about his days as a very average high school football player on crappy all-white teams before he blew up in comedy.

“Whoever the home team was in high school football you got to pick the intro song that you would run onto the field to to get hyped. So when me and the white guys were the home team, our music would be like ‘Cut my life into pieces…’ [singing Papa Roach’s “Last Resort”] something scary, something suicidal. That’s as intimidating as white dudes get…sad. Those are the most dangerous whites. If this game doesn’t go well I might shoot this whole thing up on Monday,” Gillis joked.

Fortunately it did go pretty well throughout the night as Gillis brought up each comic that used their different styles to score plenty of laughs throughout the night. (Nate Jackson)

Mike Ward
Dynasty Typewriter

Comedy transcends lines and borders, so when we heard that comedian Mike Ward hopped his own border in Canada to be at Dynasty Typewriter, we were all in. Rachel Bonnetta opened the show with a mix of playful confidence and high-energy hilarity, perfectly warming up the crowd before introducing the main attraction to fans. Record breaker and a master of storytelling in French, he didn’t disappoint with his all-English crossover, covering everything from his legendary Supreme Court of Canada case to teenage lust, dating after marriage, attempting generosity, and “trunk love.” Ward mentioned jokes translating from French to English and how they’d hit, but he was definitely in his element, and it all translated to perfect laughs. (Ali Lerman)

Tuesday, May 5

Theo Von and Mike Tyson record a live podcast at the Wiltern.

(Matthew Salacuse/Netflix )

Theo Von: ‘This Past Weekend’ Live- Guest: Mike Tyson- The Wiltern

Stand-up might own the Netflix Is a Joke Festival, but the podcasts they delivered are absolutely worth talking about. For Theo Von’s first-ever live taping of his hit podcast “This Past Weekend,” he landed the ultimate guest: Iron Mike Tyson. The sold-out crowd at the Wiltern erupted the second Von hit the stage, but that was nothing compared to the deafening roar of screams and “We love you, Mike!” when Tyson walked out.

Tyson admitted he wasn’t familiar with Von, but thankfully stated he did indeed like him, because that would have really messed up the rest of the episode! The two share an inquisitive and child-like energy, turning heavy conversations about growing up broke, the solitude of incarceration, and desperate cries for attention, into something remarkably light. Tyson’s vulnerable side was also on display while speaking about his daughter dying tragically, God’s plan for him, and speaking about his mentor Cus D’Amato, which quite literally brought him to tears. Can a show be heartfelt and insane at the same time? Definitely interested to see how they edit a few things, but when this knockout episode comes out, you’re truly in for a beautiful treat packed with plenty of wild moments. (A.L.)

Seinfeld featuring Leanne Morgan
The Greek Theatre

Blending the big-city humor with hilarious Southern comfort might sound like an odd pairing when talking about comedy, but something about the combo of Jerry Seinfeld and Leanne Morgan just works. Yes, we love a good rant about the terrors of technology from a comedy legend like Seinfeld, who got famous long before the advent of artificial intelligence and smartphones. But his crotchety comedy on a cold night at the Greek Theatre was complimented by Morgan’s ability to add warmth and sweetness to her smack talk about being a small town cheermom in the world of competitive cheerleading which she described as “the Olympics meets Honey Boo Boo.”

Most big comedy shows at the fest had a strict no cellphones policy, Seinfeld was content with just reminding us that our friends are all sick of our stupid cellphone videos. “They don’t care what you’re doing, your life, your experiences, any more than you care about what your friends are doing…everyone is sick of everything. That’s where we’re starting tonight.”

Both are recognized around the world for being on popular TV shows bearing their names. One star seemed genuinely enthralled that people recognized her and clapped when she came out, the other one seemed like he couldn’t get out of the show fast enough and get back to bed. But the mix of both energies of these authentic polar opposites worked well together to keep the crowd laughing. (N.J.)

Wednesday, May 6

David Spade, Dana Carvey and Chris Rock at the Orpheum Theatre.

(Kit Karzen / Netflix)

‘Fly on the Wall’ podcast with Dana Carvey, David Spade and Chris Rock
The Orpheum Theatre

The best way to get amazing stories out of a famous comedian is to be one yourself. It’s the reason a podcast like “Fly on the Wall” with David Spade and Dana Carvey succeed at squeezing the best out of their guests who are often on somebody’s Mt. Rushmore of Comedy. For the festival, the two “Saturday Night Live” alumni brought out the big guns by inviting their buddy Chris Rock downtown — ”way downtown” by his estimation — at 6 p.m. last Wednesday to the Orpheum for a live taping of the podcast. The three stars began by diving ever-so-casually into stories about their interactions with Michael Jackson, Tupac, Kanye and Dave Chappelle. Rock also got to expound on the classic period where he released some of the best comedy specials ever made.

He talked about his groundbreaking hour “Bring the Pain” being the result of doing as many shows as possible to pay for a divorce and as a result, “I got way better” he told Carvey and Spade. “Then I went on a Rocky run where he was knocking motherf— out.” He took that momentum into his next classic special, 1999’s “Bigger & Blacker,” that helped reshape the face of stand-up. “There’s a time in your life when you’re just a vessel and I was in that point of my life,” Rock said. (N.J.)

Nate Jackson at Laugh Factory Hollywood

It’s a skill for a comedian to be able to sit in the pocket of a crowd’s energy and keep a room full of people laughing and on their toes at the same time. Try doing it for six shows back to back. While it’s not the most consecutive sold-out shows he’s ever done at a venue (last year he delivered nine in a row at Zanies in Nashville), Nate Jackson’s ability to leave a mark on the fest at his week-long residency at Laugh Factory Hollywood was akin to watching an executive chef doing a week of cooking in his restaurant. In Jackson’s case that meant delivering some third-degree burns in the front several rows of the crowd known as the “roast zone.” When it comes to killing his customers Jackson prefaces every show the same way. “Rule number one, if I look at you and you don’t want no smoke, look away,” he told the Laugh Factory crowd.

“That is the rule and the standard, I do not get people unless they lock eyes and give me consent. As a matter of fact, this is called the Roast Zone. If anybody is accidentally down there, it’s time to get the f— out. Because rule number two is, if I look at you and you look at me and I start and you don’t like what I decided to talk about, looking away will no longer save you.” To the people that got a little too charred during his show, don’t say he didn’t warn you. (N.J.)

Thursday, May 7

Noah Wyle and Jon Stewart at the Hollywood Bowl.

(Adam Rose / Netflix)

Night of Too Many Stars
Hollywood Bowl

It was a starry, starry night at Thursday’s sold-out Hollywood Bowl Netflix is a Joke Presents: Night of Too Many Stars epic comic bonanza fundraiser benefitting autism programs nationwide, including Autism Speaks. Founded in New York by writer-producer Robert Smigel and his wife Michelle in 2003 following their son Daniel’s autism spectrum disorder diagnosis, the Los Angeles gala was hosted by longtime supporter Jon Stewart and featured a roster of top–tier stand-up talent including Niki Glaser, Ali Wong, Conan O’Brien, Tiffany Haddish, Sarah Silverman, John Mulaney and Adam Sandler, who closed the show with a trio of upbeat tunes. Cast members of reality shows such as “Love on the Spectrum” were also on deck to introduce comics, and auction items throughout the event raised crucially needed funds for individuals on the spectrum: a mock “physical examination” by Noah Wyle, star of HBO’s juggernaut medical series “The Pitt” fetched $18,000; a woman paid $50,000 to be animated into an episode of “The Simpsons.” One man stood up and donated $100,000 with no prize attached. The most special part of the night: I attended along with my son, 19, who is on the autism spectrum and laughed and smiled for three hours straight. (Malina Saval)

Wanda Sykes
Dolby Theatre

Politics, family, inflation, racism, weight gain and greed were among the multiple topics lampooned by Wanda Sykes during a dynamic and often wickedly funny tour stop at the Dolby Theatre last Thursday. Despite the large venue and packed-in audience, Sykes created an intimate club vibe, walking onstage in a utilitarian jumpsuit and instantly bonding with the audience over just how weird things have become in present-day America.

She likened 2026 to the Upside Down in “Stranger Things,” but populated with pedophiles, grifters and racists instead of demogorgons. Turn it upside down “and a billionaire falls through the ceiling,” she said. Her impersonation of Trump dancing and chatting with Epstein in the now infamous video clip was pure brilliance. How a 5-foot-2 Black woman looked more Trump than Trump was a feat unto itself.

Sykes also bemoaned the greed behind things marketed as conveniences, like supermarket self-checkout (“We’re working for free!”), food delivery bots and airport wheelchairs that get passengers to their gate without attendants. “That was someone’s job!” she said. Then added, “What if walking fast and [pushing heavy things] was the only thing they were good at?” Opening for Sykes was her former sidekick on “The Wanda Sykes Show,” Keith Robinson. (Lorraine Ali)

“Kill Tony”
Intuit Dome

The number one live podcast in the world, “Kill Tony,” returned to its roots in our beloved city on Thursday, and this time for the local masses at Intuit Dome. Co-hosted by Tony Hinchcliffe and Brian Redban, when there’s a show of this caliber during a festival, you just know the guests are going to be jaw droppers. Fighting the L.A. traffic to kick off the Dome show were Jelly Roll and Teddy Swims backed up by the Kill Tony Band, maybe? You know, it was hard to hear through all the women screaming. Kidding, we were all scream-singing, and it was such a fun way to start a show. Sitting on panel were beloved KT guests Harland Williams and Gabriel Iglesias, and the “legends bucket” made its way to its first arena in L.A., and the pulls were indeed clutch. Ron White, Joe DeRosa, and Tony’s number one favorite comic, Tony Hinchcliffe (played by Adam Ray), showed the crowd exactly what effortless and absolutely merciless veteran comedy looks like. Between bucket pull madness, a ton of Golden Ticket winners dazzled throughout, treating L.A. to a little slice of what we see in Austin on Mondays. (AL)

Friday, May 8

“Stamptown” at the Montalbán Theatre.

(Aaron Epstein / Netflix)

‘Stamptown’
Montalban Theater

Comedy variety show “Stamptown” begins with master of ceremonies Jack Tucker (the clown persona of Zach Zucker) descending from the ceiling covered in sweat as pyrotechnic flares explode on stage and electric guitars summon him before he falls flat on his face. But don’t worry, it only gets more insane from there. Part musical revue, part comedy showcase, and part circus — “Stamptown,” which filmed its shows for an upcoming Netflix special, is what happens when the lunatics get control of the asylum and decide to put on a Las Vegas show from hell. Tucker’s rapid-fire delivery is punctuated with sound effects, music cues, and the use of a variety of props dangling from his person at all times (including handcuffs, a wad of cash, and two guns). Featuring celebrity cameos, acrobatic stunts, full-frontal nudity, and the show’s stagecrew and audience members getting in on the chaos — “Stamptown” is a true homage to the theatrical possibilities of performance that toes the line ofwhat you think is possible to be done under the label “comedy show.” “Stamptown” at the Montalbán was filmed as part of a Netflix special that will air later this year, which any lover of brain rot and pageantry should be sure to check out. (Leila Jordan)

Dave Chappelle
The Palladium
We’re not allowed to say anything about went on at the Dave Chappelle three-show residency at the Palladium other than the fact that it was an evening of music and comedy. Per usual they locked up the crowd’s phones to see his show but fortunately there were plenty of actual cameras capturing what went on so hopefully you get to see what we saw very soon. (NJ)

Hasan Minhaj versus Ronnie Chieng
Dolby Theatre
Known for their spirited debates on “The Daily Show,” political satirists Hasan Minhaj and Ronny Chieng faced off in a comedy showdown where they challenged one another to prove who is better suited to fix a broken America, Asians (Chieng is from Malaysia) or Indians (Minhaj’s parents are from India)?

Never mind that Indians are South Asians, the two comedians got plenty of laughs backing up their absurd arguments with flow charts, graphs, curated news clips, a faux AI bot called “Niri,” and plenty of racist rhetoric. They broke down the debate into categories: Who’s better at academics? Business and the economy? Cuisine? Chieng argued that Asians are better at sports with a list of Olympic gold medal wins over the past three Summer Games. He won’t use all of Asia, he said, just China. Result? The country had over 100 gold medals. India had just one. Minhaj wondered aloud: For people who love gold so much, why is it so hard for us to win one?

Their choreographed debate exploited and skewered stereotypes via expert timing and pointed wit, hitting home with the predominantly Asian and South Asian audience. (L.A.)

Saturday, May 9

Atsuko Okatsuka with Margaret Cho and Trevor Noah at the Orpheum.

(Andrew Max Levy / Netflix)

Atsuko Okatsuka
The Orpheum Theatre

An Atsuko Okatsuka show is typically full of surprises as a result of her offbeat humor and twerk-master physicality. Her show at the Orpheum is the result of a brand-new hour she’s been performing on her Big Bowl Tour and includes plenty of jokes about dinosaurs and love of Jamaican dancehall choreography. But before she even took the stage with new material, fans got gleefully blindsided by the appearance of two comedy titans, Margaret Cho and Trevor Noah, who came out to deliver punchy opening sets that got loads of laughter to set the tone for Okatsuka’s evening of examining reality through her absurdist lens as an artistic performer who often feels like she’s from another planet. At the end of the show she announced that after releasing her first two specials on HBO (“The Intruder” in 2022) and Hulu (“Father,” which came out in 2025) her next special will be released (surprise!) on Netflix in 2027. (N.J.)

‘My Crazy Ex-Girlfriend’ Reunion

“Crazy Ex-Girlfriend” premiered on the CW Network in 2015 and managed to tell a complete four season story about mental illness in a musical comedy series that featured parody songs on everything from “Cats” to modern pop music to Jewish folk songs. Seven years after it ended, the cast and creatives behind the show reunited to perform a stripped-down selection of the series’ beloved songs. But this concert is not meant to serve as an introduction for those unfamiliar with the original show. The reunion performance is a tribute both to the miraculous existence of “Crazy Ex-Girlfriend” and to the devoted fans who still know all the words to songs like “Let’s Generalize About Men” and “Don’t Be a Lawyer.” (L.J.)

James McCann
Hollywood Improv (Main Room)

Australian-born comedian James McCann topped the bill Saturday night at the Hollywood Improv, and the eclectic crowd packed the place ready to celebrate his arrival in L.A. Host Benton Harshaw and openers Ruby Setnik and Sam Campbell absolutely connected and killed. And if my word count were double, they’d get individual praise for setting the room up perfectly. High energy was the vibe when McCann got on stage to wild roars from the 9:30pm early show crowd and his energy match, noting he was excited to be at the historic club himself. Mullet looking flawless, poems in tow, and dark humor dialed to an 11, he questioned L.A.’s homeless crisis, may have questioned the audience a bit too much, and tore through his thoughts on a census overhaul, the insanity of the TV show “Survivor” (yes, it’s still on), the glory days of drinking, and having visions of finally being successful enough to hire his dream team. (A.L.)

Tom Segura, left, and Bert Kreischer speak during the Two Bears 5k event at the Rose Bowl.

(Jerod Harris / Getty Images for Netflix)

2 Bears 5K
Rose Bowl

Can’t. Type. Too. Sore. And that’s not even from the run-walking, it’s from the afterparty inside Rose Bowl Stadium in Pasadena. Whether you kicked off this magical day of athleticism in downward dog with Ari Shaffir, or if you went straight for the starting line with Bert Kreischer, Tom Segura, and a svelte-looking Jelly Roll (bravo!), there was stretching, pacing, sweating and rejoicing to be had. The hang was so casual it allowed participants to rub elbows with a surplus of comics on hand like H. Foley, Kevin Ryan, Steph Tolev, Jefferson McDonald, Joe DeRosa, Jessimae Peluso, Greg Fitzsimmons, Daphnique Springs, Brittany Ross, Ian Fidance, Kim Congdon, and Dave Williamson. The finish line led runners directly into the Rose Bowl where there was plenty of Por Osos flowing, snacks, interactive games and recovery stations, and a live taping of 2 Bears 1 Cave with our favorite boys and celeb participants.

Sunday, May 10

Marcello Hernandez performed with Feid at the Hollywood Bowl on Sunday.

(Koury Angelo / Netflix)

Marcello Hernandez and Feid
Hollywood Bowl

On “Saturday Night Live,” he plays a Latin Lover named Domingo. But at the Hollywood Bowl on Mother’s Day Sunday, headliner Marcello Hernández riffed on his real life as a mama’s boy growing up in Miami — expanding on material from his 2026 Netflix special, “American Boy” — and duly invited out his mom, Isabel, who was met with a standing ovation. “God gave me a mother who worked her entire life for me,” said Hernández, who eased on his elastic goofball schtick to exalt immigrant mothers. “Today, I give thanks to her — and to all the mothers who are here, as well as those you left back home.”

Attended by nearly 17,000 people, the Bowl’s biggest Spanish-language comedy event also featured a special (and sensual) musical performance by Colombian reggaeton heartthrob Feid, as well as Mexican comedian Sofia Niño de Rivera, who opened the show with her own riotous act. At some point she asked the audience if beating piñatas had been canceled by the woke mob; you’ll just have to trust me when I say it’s even funnier in Spanish. (Suzy Exposito)

Roast of Kevin Hart
Kia Forum
Los Angeles showed up to the Forum in Inglewood for the roast of Kevin Hart, the comedian we love to hate but also love to laugh with. It was a brutal takedown of Hart that could only be accomplished by the utmost respect and love from his peers. A surprise appearance by his longtime rival Katt Williams brought the entire house to their feet. Sheryl Underwood expertly executed the punchlines and made the culture the star of her set. Chelsea Handler could have been the star of her own show. The Rock’s WWE entrance brought the heat of the pyrotechnics to the stage with his explicit propositioning of Hart’s wife, Eniko, and an attempt to breastfeed Hart. Some controversial jokes by lesser, edgy comedians fell flat but Jeff Ross, the master of roasts, held the tempo together and kept the roast moving forward. There was something for everyone in this, as Hart, the hardest working person in comedy, has become famous for. (Janelle Webster)

Flight of the Conchords
The Greek Theatre

Experiencing Flight of the Conchords at the Greek is something many fans of their lusty, yet-bone-dry musical comedy haven’t gotten to experience in a while. It’s been eight years since Jemaine Clement and Bret McKenzie have put us on “Business Time” with their stripped down odes to sexy R&B mixed with a hint of yacht rock, hip-hop power pop and whatever else they decided to throw together from their bag of classic jams that earned them fans in the early aughts. Following a killer opening set from comedian Arj Barker, Flight of the Conchords took the stage looking a bit more like silver foxes than young birds, which made the timeless chuckle-inducing tunes like “Robots,” “The Most Beautiful Girl (In the Room),” “Hurt Feelings” and “Business Time” land with even more impact as the crowd enjoyed some long-awaited nostalgia. Did they forget a few lyrics? Miss some solos? Mess up entire songs? Sure! But with a dose of Kiwi banter and the ability to laugh at themselves, the mistakes only made the show funnier and a reminder of why we’ve missed them. (N.J.)

Donald Gibb, the actor who played the hulking fraternity bro Ogre in “Revenge of the Nerds” and Ray “Tiny” Jackson in “Bloodsport,” has died. He was 71.

Gibb’s son Travis confirmed his father’s death to TMZ on Tuesday evening after he died earlier that day at home in Texas surrounded by family. Gibb, a former professional wrestler under the name “Don Gibb,” succumbed to “health complications,” according to his son.

A statement from the family, provided to People, described Gibb as a father, grandfather, great-grandfather, brother, uncle, friend and actor.

“Known for his larger-than-life presence on screen and his kindness off screen, he brought joy, laughter, and unforgettable memories to countless people throughout his life and career,” the statement said.

“Above all else, Donald treasured his faith and the people he loved,” it continued. “His strength, generosity, and spirit will never be forgotten by those who had the privilege of knowing him personally and by the many fans whose lives he touched over the years.”

“Bloodsport” star Jean-Claude Van Damme remembered Gibb in an Instagram story, posting a photo from 1986 and writing “Rest in peace, my brother.” He also reposted a reel showing himself and Gibb in the 1988 movie.

“Whether he was the lovable brute Ogre in Revenge of the Nerds or the fearless Ray Jackson in Bloodsport, Donald brought a heart as big as his frame to every role,” the caption on the reposted reel said. “Watching him alongside Jean-Claude Van Damme was the ultimate display of brotherhood on screen. In the clip, JCVD asks, ‘What took you so long?’ It’s a bitter-sweet reminder that while he’s gone too soon, his legacy in the martial arts and 80s cinema world is timeless. ‘Anytime, anyplace, anywhere.’”

A representative for Gibb didn’t respond immediately Wednesday to The Times’ request for comment.

Gibb had about 100 credits, including the sequels “Bloodsport” and the movie and TV sequels to “Nerds.”

Born Aug. 4, 1954, Gibb started his career in the early 1980s with uncredited roles in “Any Which Way You Can,” “Stripes” and “Conan the Barbarian.” His TV credits included episodes of “Cheers,” “MacGyver” and “The Young and the Restless.”

He acted into 2011, then tagged on one last credit, for the 2026 movie release “Hands.” According to IMDb, that filmed sometime in 2023 or 2024.

Jason Collins, the NBA’s first openly gay player who went on to become a pioneer for inclusion and an ambassador for the league, has died after an eight-month battle with an aggressive form of a brain tumor, his family announced Tuesday.

Collins, who starred at Stanford and Harvard-Westlake High, where he helped the Wolverins win to back-to-back Division III state titles along with twin brother Jarron, spent 13 years as a player in the league for six different franchises. He revealed in 2013 that he was gay, an announcement that came toward the end of his playing career.

Collins had been diagnosed with Stage 4 glioblastoma, which has an extremely low survival rate. He was 47.

“Jason changed lives in unexpected ways and was an inspiration to all who knew him and to those who admired him from afar,” Collins’ family said in a statement released through the NBA. “We are grateful for the outpouring of love and prayers over the past eight months and for the exceptional medical care Jason received from his doctors and nurses. Our family will miss him dearly.”

Just last week, Collins received the inaugural Bill Walton Global Champion Award at the Green Sports Alliance Summit. He was too ill to attend so Jarron Collins accepted for him.

“I told my brother this before I came here: He’s the bravest, strongest man I’ve ever known,” Jarron Collins said while accepting that award.

Jason Collins averaged 3.6 points and 3.7 rebounds in his career. He helped the New Jersey Nets reach two NBA Finals and in his best season averaged 6.4 points and 6.1 rebounds for them in 2004-05.

“Jason Collins’ impact and influence extended far beyond basketball as he helped make the NBA, WNBA and larger sports community more inclusive and welcoming for future generations,” NBA commissioner Adam Silver said. “He exemplified outstanding leadership and professionalism throughout his 13-year NBA career and in his dedicated work as an NBA Cares Ambassador. Jason will be remembered not only for breaking barriers, but also for the kindness and humanity that defined his life and touched so many others.

“On behalf of the NBA, I send my heartfelt condolences to Jason’s husband, Brunson, and his family, friends and colleagues across our leagues.”

Jason Collins revealed his sexuality in a first-person account for Sports Illustrated in April 2013. He was a free agent at the time, said he wanted to keep playing, and went on to play in 22 games with Brooklyn the following season.

“If I had my way, someone else would have already done this,” he wrote at that time. “Nobody has, which is why I’m raising my hand.”

His decision was widely lauded, with star players such as Kobe Bryant quickly speaking out in support of Collins. There was even support from the White House and then-former President Bill Clinton — whose daughter, Chelsea, went to Stanford with Collins. At Stanford, Collins was roommates with someone who was part of another American political dynasty, that being Joe Kennedy III, who spent eight years in Congress representing Massachusetts.

Collins, in the piece for Sports Illustrated, wrote that he realized he needed to go public about his sexuality when Kennedy walked in Boston’s gay pride parade in 2012 — but Collins couldn’t do the same.

Until then, Collins kept his feelings about gay rights close to the vest. He wore jersey No. 98 for the majority of his final three playing stints with Boston, Washington and Brooklyn — a nod to the year that Matthew Shepard, a gay college student in Wyoming, was killed. He also wore 46 in one game for the Nets, since it was the only jersey the team had available when he signed.

Collins made nearly 61% of his shots in his career at Stanford, which remains a school record. He was an honorable mention selection for the Associated Press’ All-America team in 2001, a few months before the Houston Rockets took him with the 18th pick in that year’s NBA draft.

“It’s a sad day for all of us associated with Stanford basketball when we lose one of the program’s greats,” former Stanford coach Mike Montgomery said. “We all have great memories of Jason and the kind of person he was. It’s hard to separate Jarron and Jason because they thought so alike, but even though he was an identical twin, Jason was unique in his own way. The impact he had on Stanford was immense, as he could match up against anyone in the country because he was big, smart, strong and skilled, all while being a very bright and nice person.”

Friends, motorists, fellow Americans: The road ahead is far from straight. But it will take us through eight states and dozens of small towns, past Muffler Men and Patel motels, beneath the bright lights of Tulsa and Tucumcari, up close to Edward Hopper’s “Nighthawks” and Angel Delgadillo’s barber chair.

In other words, it’s Route 66, an American artifact that turns 100 in November and seems to contain more curiosities and paradoxes than the Midwest has cornstalks.

To see all that up close and catch America’s Main Street making ready for its centennial summer, I drove the entire stretch — from Chicago to Albuquerque in one trip, then Albuquerque to Santa Monica in another, a combined 17 days on the road.

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Even before that first day of driving brought me to Springfield, Ill., I’d realized that more days would have been better. As traveler Leonidas Georgiou of Greece told me, “This is a lifetime journey.”

You quickly see that this 2,448-mile route is actually a medley of rural highways, small-town main streets, frontage roads and inescapable bits of Interstate 40. You roll from Midwest farmland to Southwest desert to the Pacific, rising and falling between sea level and 7,000 feet. The roadside signs and buildings, restored and ruined, cry out for more than a drive-by snap. And people are happy to see you, because Route 66 is what keeps some of these towns alive.

Beginning with your first miles — and a cup of coffee at Lou Mitchell’s diner in Chicago — you meet all sorts of travelers. A mother and daughter from New York. The California couple who just retired from the Air Force. The European cop who persuaded his mom to come along, then had her sleep in the car to save money. The “roadies,” many of them retired, who return every year. Some come for the scenery, some for the signage, some for the conversations.

Depending on whom you ask, this might be the most famous highway in the world. It is the inspiration for a short, happy song that’s lasted 80 years (Bobby Troup’s “[Get Your Kicks on] Route 66”) and a long, sad book that’s lasted 87 (John Steinbeck’s “The Grapes of Wrath”). Then again, if you were born in this century, you probably know the road’s story best from the 2006 Disney-Pixar movie “Cars.”

As the miles go by, you realize that Route 66 hasn’t been strictly American for a long time. Many Route 66 merchants and hoteliers say that most of their customers are travelers from abroad. Beyond that, many Route 66 entrepreneurs are from families that came to the U.S. in the last 50 years. I met a restaurateur from Lebanon, one motel owner from the Netherlands and four more motel owners, all named Patel, whose families arrived from India after 1965.

Route 66 west of Seligman, Ariz.

(Christopher Reynolds / Los Angeles Times)

“You never know what language or accent you’re going to hear,” says Rhys Martin, Tulsa, Okla.-based manager for the National Trust for Historic Preservation’s Preserve Route 66 initiative. “You’ve got new business owners. You’ve got unique cuisine. You’ve got this cultural diversity. You’ve got the African American experience. It’s more complicated than just a trip back in time.”

And this year is especially complicated.

Hundreds of small businesses along the route have been investing in centennial upgrades and celebrations, including a 19-day national caravan that begins June 6 in Santa Monica. But 2025 was slow on 66, in part because many Canadian visitors stayed away after President Trump proposed taking over their country.

1.) Views of the Chicago skyline from Navy Pier. 2.) Millennium Park, Chicago. (Christopher Reynolds / Los Angeles Times)

Now, on the brink of summer, soaring gasoline prices could keep many Americans home, and President Trump’s America-first rhetoric and nonresident fees might drive more international travelers elsewhere.

“We all worry about that,” says Terri Ryburn, owner of Ryburn Place Gifts & Gab in a 1930s gas station in Normal, Ill.

“We need new roadies,” says Anna Marie Gonzalez, co-owner of the Aztec Motel & Creative Space in Seligman, Ariz. “And the roadies need to be American this year.”

Now my rented Ford Escape SUV is rolling and my windshield is full of rural Illinois. Water towers, grain elevators, flags on barns. Black and white cows.

The skyline view from Chicago’s Navy Pier is half a day behind me, as are the crowds around the big silver bean in Millennium Park and the great American artworks in the Art Institute of Chicago (where “Nighthawks” hangs).

Experts say that about 85% of the old highway is still drivable. But some states post more signs than others. And everywhere, people steal signs.

Ah, but not these signs. One for a barn sale off Stripmine Road. A warning that Funks Grove has sold out of pure maple syrup. Somebody selling deer pee to hunters.

When I cross the state line, I face a billboard pitching “Uranus Fudge Factory, Missouri’s No. 2 Attraction.”

After I pass the exit comes the sequel message: “Uranus is behind you.”

The Wagon Wheel Motel stands along Route 66 in Cuba, Mo.

(Christopher Reynolds / Los Angeles Times)

The Route 66 timeline starts in November 1926. That’s when state and federal transportation officials embraced the idea of connecting scores of cities and small towns with one long, paved road.

As I pull over for a barbecue dinner in tiny Cuba, Mo., the 90-year-old Wagon Wheel Motel pops up like a slideshow illustration of that time. The stone-walled motel looks unchanged in decades, but sleepy.

“Never closed,” says a sign in the window with a phone number. “If office locked we are close by.”

The Rockwood Motor Court in Springfield, Mo., is a window into the same era. Built in 1929, my $77 room is compact and the plumbing is delicate, but all the vintage vibes are present. Phyllis Ferguson, desk clerk, owner and “old building hugger,” is full of tips on roadside businesses and where to stay, because “I know these little tourist courts are getting fewer and farther between.”

Boots Court motel opened in 1939 to capitalize on Route 66 traffic in Carthage, Mo.

(Christopher Reynolds / Los Angeles Times)

In Carthage, Mo., at Boots Court, desk clerk Jason Shelfer shows me a splendidly restored 1939 room where Clark Gable slept and tells me he never appreciated the reach of Route 66 until now.

“When people from Brazil come to Carthage, Missouri,” Shelfer says, “something magical is happening.”

And there’s another side to this magic: 66 can also be invisible up close. Not just because of missing signs, but because it has aliases everywhere. It’s Jackson Boulevard in parts of Chicago, Garrison Avenue in Carthage and Main Street in Galena, Ks., where 18-year-old cashier Kassidy Kell welcomes me into Gearhead Curios.

“Before my job,” she confesses, “I had no idea what the thing was with Route 66.”

It was John Steinbeck who called 66 the Mother Road. But if the Mother Road has a father, it’s probably Cyrus Avery, a Tulsa businessman and big wheel on the Oklahoma Highway Commission in the 1920s. Avery, who now has his own plaza in Tulsa, campaigned for a Chicago-Los Angeles route through his hometown. Little did he know what was coming.

The Cyrus Avery Centennial Plaza features a bronze sculpture called “East Meets West,” just off the now-closed Cyrus Avery Route 66 Memorial Bridge in Tulsa, Okla.

(Mike Simons / For The Times)

Within a decade, drought and Depression had forced legions of Dust Bowl migrants from Oklahoma and beyond on desperate journeys west, using Route 66.

A decade beyond that, the end of World War II in 1945 filled the road again, this time with happy travelers.

That postwar era is what many people now think of as a simpler time, and perhaps a better one. But segregation and “sundown towns” were still in place along much of the route. For travelers of color, a carefree road trip would have been impossible. And for many Native Americans, the roadside proliferation of cowboy/Indian caricatures would have been nothing to smile at.

But these were years that reshaped the look of Route 66. Hundreds of motels, shops and gas stations rose along the road, often designed in bold geometry and bright colors.

Mary Beth Babcock at her shop Buck Atom’s Cosmic Curios in Tulsa, Okla. In the background is her giant, Stella Atom.

(Mike Simons / For The Times)

Flash forward now to Tulsa’s Meadow Gold District, a.k.a. “land of the giants.” In 2018, retailing veteran Mary Beth Babcock took over an old gas station, dubbed it Buck Atom’s Cosmic Curios on 66, and soon opened more shops nearby.

Then, to get attention and make drivers smile, she put up a few “muffler men” — roadside fiberglass giants. She started with Buck and Stella Atom, a space cowboy and cowgirl who loom over 11th Street, looking to the past and future.

“Americana!” says Babcock. “Road trip! Who wouldn’t want to do that?”

Near the east edge of the Texas panhandle stands the most elegant gas station you’ll ever see: the 1936 U-Drop Inn and Tower Station in Shamrock, which drips with Art Deco style. (No, you can’t get gas there. But you can eat at the cafe inside or charge your Tesla in back.)

In Groom, stopping for gas, I spy the largest cross I have ever seen — 190 feet high and 110 feet wide. Nearby, I glimpse a crooked water tower — built to attract tourists and billed as the Leaning Tower of Texas.

Sorry, Groom. I’m not stopping.

The fastidiously restored U-Drop Inn, a Streamline Moderne filling station and cafe in Shamrock, Texas, is one of the architectural standouts of Route 66. It doesn’t sell gas, though.

(Christopher Reynolds / Los Angeles Times)

I reach Amarillo just in time, grab paint cans and hustle out to the field where a line of 10 old Cadillacs stand half-buried. As the sun sets, they throw 50-foot shadows while the scent of spray paint fills the air.

This is Cadillac Ranch, an art installation from the 1970s where visitors are free to add their own paint, whatever they like. Mine says “Read Something.”

Next comes Tucumcari, N.M., one of the few places to sleep between Albuquerque and Amarillo. Because of that, it used to get thousands of road-trippers. They’d slowly roll down the main drag, choosing favorites from a riot of snappy names and caricatures lit in gleaming neon.

“They tell me it was like driving into a little Las Vegas,” says Gar Engman, owner of Tee Pee Curios.

But I-40 changed everything.

In 1956, President Eisenhower called for a better interstate highway system. By the mid-1960s, wider, faster interstates started opening, flanked by chain hotels and restaurants. After I-40 bypassed Tucumcari in 1981, and train service dropped off as well, Tucumcari crashed. Just about every town along 66 has a version of this story, especially in New Mexico and Arizona.

Visitors to the Cadillac Ranch art installation in Amarillo, Texas, are allowed to spray-paint the 10 Cadillacs half-buried in the ground there.

(Christopher Reynolds / Los Angeles Times)

So is Tucumcari a ghost town? Not exactly. Many buildings stand empty and the Apache Motel’s vintage sign rests flat in a parking lot like a fallen soldier. But several motels are clearly doing fine, as is Tee Pee Curios. At night you still see a great set of signs. Most dramatic is the Blue Swallow Motel with its bird in flight, cursive letters and promise of “100% refrigerated air” — maybe the most photographed sign on 66. But you can’t ignore Motel Safari, the Roadrunner Lodge and La Cita restaurant, which wears a red sombrero and serves a fine Frito pie.

In Newkirk, N.M., four turkeys cross the road, leaving me groping for a punch line.

In Santa Rosa, N.M., I tiptoe into the Blue Hole, an artesian well that’s always 62 degrees, then tiptoe out again.

Turkeys on Route 66, Newkirk, N.M.

(Christopher Reynolds / Los Angeles Times)

In Albuquerque, I roll past many blighted blocks on Central Avenue, then jog 65 miles northwest to sample the art and wealth of Santa Fe.

In the farmers market there, I give public poet William Curius $20 to pound out a Route 66 poem on his Royal typewriter. In 20 minutes, he comes up with a solid effort, but it’s nothing compared to his answer when I ask his age.

“I don’t identify with age. This is how you die. Counting each year.”

In Petrified Forest National Park — the only national park directly on the route — I hike among red rocks and howling wind.

By the time I reach Williams, Ariz., several people have told me that the European travelers know more about Route 66 than the Americans do. So when I see four guys from Greece on the sidewalk, I try that idea on them. Alex Andros, age 30, nods immediately.

“If you come to Greece,” he says,”you probably know more Greek mythology than us. So that makes sense.”

Now we arrive at Seligman, Ariz. It’s tiny, with a population south of 800. But in the lore of Route 66, Seligman is big. Because of Angel Delgadillo.

By 1985, though the roadway was still mostly intact, Route 66 was officially obsolete, decommissioned as a federal highway. Starved for visitors, Seligman was dying. But Delgadillo, a barber with deep roots in the town, had an idea. He and his wife, Vilma, rallied business people from nearby towns to seek historic status for their stretch of Route 66. After they prevailed, they started a statewide organization and set a national movement in motion.

Angel & Vilma Delgadillo’s Original Route 66 Gift Shop on Route 66 through Seligman, Ariz. (Mark Lipczynski / For The Times)

Scenes from Route 66 in Williams, Ariz. (Mark Lipczynski / For The Times)

The Delgadillos’ business, now a gift shop, endures on Seligman’s main drag, as do Vilma and Angel, who celebrated his 99th birthday in April. Two daughters help run the shop, which includes an old barber chair where you can sit for a selfie.

The westernmost stretch of 66 in Arizona is a driver’s dream and a magnet for motorcycles. Those 158 miles make up the longest-surviving continuous stretch of Old 66, beginning just east of Seligman, veering away from the railroad tracks, cutting through Kingman, twisting and turning through Oatman and the Black Mountains, eventually rejoining I-40 at the state line.

Then it’s time to cross the Colorado River. Roar through Needles. Pause at the Roy’s sign in Amboy for dusk. Crash for the night in Barstow.

At San Bernardino’s Wigwam Motel, I wind up chatting with a mother-daughter duo of Canadian travelers.

“I was against coming down,” admits Sharon Prinz, 75, of British Columbia.

1.) The stretch of old Route 66 between Kingman and Topock in western Arizona is known as “Arizona Sidewinder” for its 191 turns, often without guardrails. The old mining town of Oatman, known for its roaming donkeys, is on the way. (Christopher Reynolds / Los Angeles Times) 2.) The Magic Lamp Inn in Rancho Cucamonga. (David Fouts / For The Times) 3.) Foothill Drive-In sign on the campus of Azusa Pacific University. (David Fouts / For The Times)

“It’s a timing thing,” says Wendy Prinz, 51, who talked her mom into coming. “If you put off something for a year, you might never get the chance.”

The end is near, and I’m feeling like a marathoner at Mile 25. Creeping along Foothill, Colorado, Sunset and Santa Monica boulevards, I scan the scene for old signs. Rancho Cucamonga’s Magic Lamp Inn! Azusa’s Foothill Drive-In! (But there is no drive-in, just the sign.)

And then, at dusk, it appears: the Santa Monica Pier and the sign declaring I’ve reached the “end of the trail.”

All those miles. Yet already, I’m making a mental list of stops to add and detours to try next time.

A sign marking the end of Route 66 on the Santa Monica Pier.

(David Fouts / For The Times)

“It’s so easy to use up all your time and end up running behind,” says Ian Bowen, manager of the pier’s 66 to Cali kiosk. “It took me six years to do the whole road.” And then, he adds, “you become part of the community.”

And you see how, in so many ways, the road is one long small town. When Brenda at the Midpoint Cafe in Texas sends a guest westward with a coconut cream pie for Robert and Dawn at the Blue Swallow Motel, Robert and Dawn thank her on Facebook (“It’s like a hug in a box”) and scores of roadies applaud. When Angel Delgadillo turns 99, West Side Lilo’s Cafe is ready with carrot cake. After Beth Hilburn adds a giant outside her Hi-Way Cafe, Mary Beth Babcock heads over from Tulsa to Vinita to say hi.

And when a rookie roadie finishes his first 66 trip, he has to wonder: Who will be out there this summer? Will it be enough to keep this fragile recovery going?

If this is the story of America’s Main Street, what’s the next chapter?

‘We have lammerullepøllse – lamb rolled sausage – today,” says Daniel Hesseldal-Haines, chef at Det Lille Sommerhotel on the Danish island of Samsø. “It tastes better than the translation sounds. And,” he gestures towards a woman sitting by the window, “the lamb is from Camilla’s farm.”

Camilla gives us a friendly wave, and my eyes fix upon her sweater, featuring row upon row of colourful motifs. Think Fair Isle but less orderly: each stripe holds a different design. “Oh, I made this,” she says. “It’s hønsestrik – chicken knitting. You can use it to tell your story – so this one is about hiking,” she adds, pointing to each section: “These are my footprints, this is my tent, my coffee flask …”

Samsø, just 43 sq miles (112 sq km), lies off the coast of the Jutland peninsula, an hour’s ferry ride from Aarhus, and is something of a poster child for sustainability and the good life, being known as “Denmark’s vegetable garden” because of its fertile soil and beneficial climate. It’s been energy-positive since 2007, thanks to community buy-in to initiatives including windfarm ownership and biomass heating systems powered by agricultural waste. The aim is to be completely fossil fuel-free by 2030 – two decades ahead of Denmark’s goal of carbon-neutrality by 2050.

Centuries ago, Samsø was a site of strategic importance during the Viking age: the Kanhave canal, hand-hewn through its narrowest point to facilitate maritime passage, is testament to that. But for many Danes, Samsø is simply a summer holiday destination – not only because of its reliable sunshine, but also because of its beaches, Guinness World Records-certified world’s largest maze and protected northern hills. For almost 100 years, mainlanders’ families have owned summerhouses here and, during the warmer months, the population of about 3,500 inhabitants swells, with visitors numbering more than 300,000.

My visit is in early spring and Det Lille Sommerhotel, in the busy harbour village of Ballen, is my base. Run by Daniel and his wife Lea, who took it over from her mother five years ago, its cosy, seaside theme fits its location perfectly. Spring is a great time to visit – the island is just beginning to wake up. Small groups of walkers pace the lanes. Crops are being harvested, and honesty boxes full of leeks and onions are set up outside homes. Everywhere, hedges and trees are studded with tight green buds on the brink of unfurling.

I head out in the spring sunshine to meet Aage Madsen, the owner of Samsø Bær, on the north-east coast. He makes juices, jams, oils and liqueurs from the island’s natural bounty (the schnapps even comes from the plumules from the birch tree in his back garden). You can tour the factory’s premises with tastings included, as well as stocking up on products to take home, and like many businesses on the island, there’s an honesty system with mobile-pay in place when the shop is unattended.

Over a coffee in Aage’s kitchen, I recognise the work of Samsø potter Sigrid Hovmand on the shelf; the previous day I had spent time in her Nordby studio (open year round by appointment), learning about how she shapes her hand-thrown ceramics into irresistibly tactile, organic yet practical forms.

Even in the warmth of summer, temperatures rarely crack 22C, but springtime sunshine makes a perfectly respectable 15C seem quite balmy. It’s ideal weather for hiking and biking – two of the best ways to explore – and indeed, Samsø is set up for both, with myriad routes to tackle on foot, plus multiple cycling routes and rental stores. Peaceful country roads take me on a leisurely cycle from Ballen to Vesborg Fyr, a striking white lighthouse built in 1858 on the island’s south-western point. When I climb the coiled staircase to the top, the views in every direction are wonderful: breeze-ruffled fields, sparkling sea and the lazy cartwheeling of wind turbines. Only occasionally do I spot a vehicle purring through the landscape. Indeed, there’s not a single traffic light on the island – although there are a lot of electric charging points, most in Tranebjerg, Samsø’s “big city” – a relative term, but where the tourist office, hospital and supermarket are located.

It’s also the site of Sams Island Distillery. Established in 2017 by Mads Nielsen and a former business partner, the brand prides itself on sourcing its ingredients locally. Mads even grows his own beets to provide the “sugar” for his rum, creates small-batch liqueurs with seasonal berries and hunts Lasius fuliginosus – ants with a citrusy secretion in their abdomen – to give his gin a lemony kick. We venture into the woods and he shows me his gathering ground: here, inspired by the of ants in Copenhagen’s former restaurant Noma’s botan ebi (jumbo shrimp dish), he spent months crawling around in search of them.

Before I leave, I hike out along the Besser Rev spit. At 3 miles (5km), it’s an overground reef, formed of glacial marine deposits and forming a narrow, stony path, tufted with scrubby, low-lying vegetation. Brushed on its western side by the shallow waters of Stavns fjord, and by the stronger currents of the Kattegat Sea on the east, passage is sometimes denied by tidal activity. Although I’ve timed my walk carefully, I’m prevented from reaching the reef’s final stretches by signs forbidding access from 1 April until 15 July: it’s nesting season and this area is a vital breeding ground for sea birds. My progress thwarted, I’m content to sit on the sand by the adgang forbudt sign with my face tilted towards the gentle sun, listening to the sounds of nature and contemplating Googling “properties for sale on Samsø”.

The trip was provided by VisitSamsø and VisitDenmark. Det Lille Sommerhotel has B&B doubles from 745DKK (£86) a night

The most recent death on Mt. Wilson claimed the life of a man identified as New Zealand-born, L.A.-based composer Mark Smythe. Following the tragedy, his colleagues and family poured out their hearts as they remembered a man they called smart, funny and a true supporter of his peers.

Smythe died Saturday at 53 after suffering a cardiac emergency on a hiking trail, according to the coroner’s online database. His cause of death was atherosclerotic cardiovascular disease, in which plaque builds up in arterial walls and can lead to a heart attack.

The Sierra Madre Police Department said Saturday that a man — at that point unidentified — died after having a medical emergency on the trail and that no foul play was suspected. First responders arrived at the site around 10 a.m. and administered aid but were unable to save his life.

Smythe had been head of the department of Composing for Visual Media at Los Angeles Music College since last summer, according to his website. Among other honors, he was nominated for a 2023 Society of Composers and Lyricists Award for his work scoring the movie “The Reef: Stalked.”

Kate Ward-Smythe, the composer’s sister, acknowledged his death late Sunday on Facebook.

“It is a comfort to know that he was doing one of the things he loved, hiking in the hills, and we are grateful to his wonderful friends (and emergency service responders) who tried so hard to resuscitate him,” she wrote.

“Mark was a strong larger than life connector in LA, as a professor, composer, musician, and loyal friend. He was also fiercely talented, and an absolute cheerleader for music performance and recording across multiple genres.. he was only just getting started and had so much more to give .. We are heartbroken and trying to process this tragedy, as are all Mark’s friends and family.”

Bear McCreary, known for scoring TV series including “Outlander,” “The Walking Dead,” “Black Sails” and “Snowpiercer” and movies including “Happy Death Day,” “Godzilla: King of the Monsters” and Blumhouse’s “Fantasy Island,” called news of Smythe’s death “awful and surreal,” saying they had just been chatting at a mutual friend’s party a few weeks ago.

“Mark’s enthusiasm and humor were off the charts,” McCreary wrote Sunday on Instagram. “He brought a shark with a bowtie to the red carpet of an SCL awards ceremony when he was nominated for his work on a shark movie – hilarious! When he found out I was writing a metal album, he curated his favorite German folk metal bands for me (turning me on to his favorite band, Finsterforst).”

Having said he always thought he would get to know Smythe better one day, McCreary called his death “a stark reminder to spend time with the people you care about while you can.”

John Massari, who has more than 150 music credits stretching back to “Little House on the Prairie” and contributed music to TV series including “Dancing With the Stars,” “Pawn Stars” and “It’s Always Sunny in Philadelphia,” said in comments that “Mark was a bright light and a refreshing spirit in our community. He is greatly missed.”

“I’m so deeply sad to lose my friend. Mark, I miss you and love you. Thank you for your love, passion, humor, and joy and for always making me feel loved and valued,” singer Baraka May, whose voice can be heard in “Avatar: Fire and Ash,” “Wicked: For Good” and “Beavis and Butt-Head,” wrote Monday on Instagram.

“He was funny and snarky and whip-smart, yet when we collaborated, he just melted into the music and gushed like a fan with child-like wonder. What a tremendous heart and mind!” the vocalist wrote. “I had the honor of collaborating with him on three of his beautiful pieces as a conductor, and I loved his boyish, genuine joy and excitement even in our rehearsals. He wrote and voiced his music beautifully, which often felt haunting, romantic, deep, and sensitive, and his bass playing was so beautiful and thoughtful. He was such a vivid, enthusiastic music lover, and I was very much looking forward to making more music with him.”

The Los Angeles Film Conducting Intensive also mourned the loss, saying online that “Mark was a brilliant talent and a genuine friend to all, a true pillar in our scoring community.

“During the pandemic, Mark generously joined our 2020 New Music Project to support new repertoire for our music community during a time of great uncertainty and when most traditional pieces could not be performed.”

The Hollywood Music in Media Awards remembered Smythe winning a career-propelling prize at the organization’s 2013 ceremony, soon after he arrived in L.A. from New Zealand.

“He quickly built a distinguished body of work for film, shorts, and television, earned multiple HMMA nominations, served as COO of the Society of Composers & Lyricists, and returned to present at the 2018 HMMA Gala,” the organization wrote. “Mark’s talent and generosity enriched our community — he will be greatly missed.”

Smythe’s death was the second this month on Mt. Wilson. On May 3, a man identified as John McIntyre, 66, was declared dead on the same trail after falling down a ravine at Mt. Wilson Road and the Little Santa Anita fire break in Sierra Madre. His cause of death was blunt force injuries.

If, god forbid, there’s a natural disaster in L.A. in the near future, Jena Malone might be one of your first responders.

“I’ve been studying Community Emergency Response Team training,” the actor-musician, 41, said, drinking coffee in the living room of her home overlooking pomegranate trees and a canyon in northeast L.A. “Whether it’s fire management or building a neighborhood tool shed, it’s less important for me to hit career milestones now than to transform how I live on this planet. Let’s build something where we’re all taking care of each other’s needs through mutual aid.”

Those are galvanizing priorities from Malone, who’s led generationally beloved films like the sci-fi noir “Donnie Darko,” played the axe-chucking Johanna Mason in two “Hunger Games” tentpoles and recently co-starred in the lesbian bodybuilding revenge flick “Love Lies Bleeding.” For almost as long, she’s also made experimental folk and electronic records that toy with avant-garde noise and quietly poignant songwriting.

This is a wild time in L.A. for anyone concerned about the city and its culture industries, and Malone is deeply invested in both. Just before the release of her new Netflix series, the Duffer Brothers-produced “The Boroughs,” she’s released her first album in nearly a decade. “Flowers For Men” is an effects-shredded, future-primitive record, written after the birth of her son upended her obligations — and expectations — toward the men in her life and the world they’ll inherit.

“It changed everything,” Malone said, about raising a son. “I grew up learning to thrive and mask in masculine spaces. Grind culture is a masculine toxicity that I inherited and indoctrinated myself in. But parenthood offers you this opportunity to burn your entire life down in sacrifice to finding out what’s real. I had no idea what it was to be a man. All of my ideas burned down and not much was being raised back up.”

For millennial film fans, Malone’s been a consistently compelling, trust-anything-she’s-in actor since her child-star turn in 1997’s “Contact.” Few embody a tortured, beguiling Americana quite like her.

“The Boroughs” — a high-profile follow-up to “Stranger Things” from the masters of unreality, created by Jeffrey Addiss and Will Matthews — has a stacked cast that includes Alfred Molina, Geena Davis and Bill Pullman, set amid a bucolic retirement community under supernatural threat. A ragtag group of Duffer Brothers misfits teaming up to fight off eldritch horror might be the last safe bet in television.

Yet that’s also how Malone feels about the current climate of Hollywood — a once-stable neighborhood fending off malign forces. Institutional consolidation and retreat, spiraling costs, technological upheaval — they all add to a creeping sense that an era is over, and worse is coming.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” she said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent. My stress levels go down and my creativity goes up when I’m building a world that does not rely on the film industry, even though it’s my main love.”

That feeling called her back to music on “Flowers For Men,” arriving nine years after her last LP. The ego-shattering experience of giving birth in 2016 and raising a son prompted reflections about what men’s inner lives were really like, and she wanted to write about them.

“I was raised by two moms, and I had this strange aspiration to become the dad,” Malone said, laughing. “I was the breadwinner of my family then. But being a parent was all brand-new to me. I kept seeing my father in him, my grandfather, these older relationships with men. It was asking me to look at him with curious, childlike eyes.”

“Flowers For Men” was written from a sincere curiosity about mens’ strictures, bad influences and better aspirations. To inhabit someone else’s life, she had to sound different, too.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” Malone said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent.

(Evan Mulling/For The Times)

The most prominent instrument on the album is its layers of vocal treatments. Malone has a lovely natural voice — intimately whispered, with hints of ‘70s country rock. But here she douses it in pitch-shifted digital acid, like a late 2000s R&B record dropped in the pool at the Joshua Tree Inn.

It’s an uncanny combo, but its lends modern melancholy to “Barstow,” which has the narrative structure of a Townes Van Zandt banger but is corroded with bleary effects. “Create In Your Name” has a Billie Eilish-worthy late-night murk, with lyrics so devotional they almost sound consumptive. “Disaster Zones” is all blown-out ambience, and the LP closes on a showstopping cover of John Prine’s classic “Angel From Montgomery.”

“I just love that a man wrote a song where the first line is ‘I’m an old woman,’” Malone said. “As a female songwriter, it gives me so much permission. Now all the doors are open. If I was to give flowers to all of the different men that have touched or changed things that deserve celebration, John Prine would be one of them.”

That idea — celebrating men for the good they’re capable of — felt transgressive enough today that it cohered the album for her. But it also came with questions about how romantic partnership fit into her life. Settling into motherhood, she read up on relationship anarchy — which she sees as not abiding by tiers of connection. She bought books on ethical nonmonogamy (“Sex at Dawn” was a big one) to learn how other lives were not just possible, but maybe even more fulfilling.

(Perhaps this was not a stretch from an actor who played the wild child Lydia Bennet in “Pride and Prejudice.”)

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” she said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love. And then my family, and how important friends were. And all of a sudden there’s no world where I would just have one love, not even just romantic love.”

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” Malone said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love.

(Evan Mulling/For The Times)

“Flowers For Men” is, in her way, a bargain with that contradiction — to love men deeply, but never put them above all else, even as she got engaged to her partner, actor Jack Buckley, earlier this year.

She’s still sorting out how to present this album live. She said she’s a fan of the Dead City Punx model of renegade shows in forgotten corners of L.A. Maybe as the city seems to fall apart, she’ll find a leafy park or the back of a dingy bar that’s the right home for these strange, lonely yet hopeful songs.

“I want someone to walk into the bathroom and be like, ‘Whoa, why is there a woman singing to me?’” Malone said. “I like the idea that art makes you a little uncomfortable and you don’t have the previously held expectations to know how to hold it.”

Taylor Sheridan’s “Yellowstone” universe, the sprawling neo-western TV franchise that chronicles the embattled Dutton family across time and locations, continues its aggressive expansion on screen with next week’s arrival of “Dutton Ranch.”

Premiering May 15 on Paramount+, the series continues the story of Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser) — she’s the daughter of the late John Dutton (Kevin Costner), while he’s John’s longtime ranch foreman and fixer — as they migrate their passionate and unwavering love from Montana to South Texas to build a new life. The new series picks up about a year after the events that closed out the mothership series — namely, the selling of Yellowstone Ranch. And as you might expect, it doesn’t take long for them to make new enemies in their efforts to keep their new ranch operating.

Christina Alexandra Voros, who is an executive producer and director on the series, stopped by Guest Spot to talk about what sets “Dutton Ranch” apart from its parent show.

Also in this week’s Screen Gab, our recommendations include the return of a classic Cartoon Network series and a new addition to the growing microdrama landscape. And wait. Did you hear “The Bear” released a special episode? Let us tell you about it.

Scroll down and stream on. See you next week.

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Mordecai, a blue jay who works at the park, in “Regular Show: Lost Tapes.”

(Cartoon Network)

“Regular Show: The Lost Tapes” (Cartoon Network )

Nearly a decade after “Regular Show” flashed into history with a metafictional battle for the fate of the universe, J.G. Quintel is restoring his cult-beloved cartoon series to life, with its cast and creatives back in place. (Following the “Gumball” revival, these are great days for old-school CN fans.) A surreal hardly workplace comedy, it’s set in a city park (even when, in the last season, the park was hijacked into a tree-shaped space station), where the characters — a blue jay, a raccoon, a lollipop man, a Yeti, a muscular little green monster, a video-game ghost with a hand growing out of its body-head and a walking gumball machine, who runs things — get into scrapes as strange as that cast list might suggest. As the original series ended 25 years into the future, “The Lost Tapes” no doubt indicates a rewind — VHS is the preferred format of this crew — into an earlier world we can regard as the present. Though what, after all, is time to a cartoon? (The show premieres Monday on Cartoon Network, and will come to Hulu and HBO Max later in the year.) — Robert Lloyd

Eric C. Lynch, Brittney Jefferson and Jenna Nolen in a scene from “Screen Time.”

(Liliane Lathan)

“Screen Time” (TikTok, PineDrama)

When word hit that Issa Rae’s Hoorae Media was set to premiere its first microdrama series, which are essentially super-short TV shows shot for smartphones, it felt like it was finally time for me to see what this format on the rise is all about. “Screen Time” begins with a double-date movie night that goes off the rails after a mysterious figure hijacks the TV and sends two couples — Danielle (Brittney Jefferson of “Rap Sh!t”) and Marcus (Eric C. Lynch of “Queen Sugar”); and James (Xavier Avila of “Á La Carte”) and Olivia (Jasmine Luv of “Tell It Like a Woman”) — on a tailspin as they’re forced to confess their secrets or risk their online footprint being made public. It’s a fun and ridiculous ride, made all the more entertaining when you scroll the comments for a full communal experience. It’ll have you doing an inventory on your phone’s contents, if you’re not busy unplugging any nearby virtual assistants while questioning what’s up with Marcus. There are 27 episodes now available to watch, with each clocking in at roughly a minute and flowing into the next. (For a bit of comparison, the viral “Who TF Did I Marry?” TikTok series by Reesa Teesa, which held me hostage in 2024, had about 50 videos, with many lasting around 10 minutes. But that was real-life drama.) Of course, Rae knows something about making online content stand out. Long before “Insecure” made her an in-demand storyteller in TV and film, Rae broke through with her YouTube series “The Mis-Adventures of Awkward Black Girl.” The next episode drop arrives on May 22. — Y.V.

Catch up

Jon Bernthal as Michael “Mikey” Berzatto and Ebon Moss-Bachrach as Richard “Richie” Jerimovich in a stand-alone episode of “The Bear” titled “Gary.”

(FX)

Everything you need to know about the film or TV series everyone’s talking about

“Dutton Ranch” isn’t the only show spinning off family dynamics in new places. “The Bear” made a surprise episode drop earlier this week. Titled “Gary,” the stand-alone episode — listed on Hulu separate from the main show and not considered part of a season — is a one-hour flashback that mostly functions as a prequel. It follows Richie (Ebon Moss-Bachrach) as he sets out on a work trip to Gary, Ind., with Mikey (Jon Bernthal).

Though not biologically related, the pair are best friends who consider each other family of the “cousin” variety. And they’re tasked with running an errand for cousin Jimmy (Oliver Platt) to deliver a box whose contents neither knows. Moss-Bachrach and Bernthal, who have been friends since 2003, co-wrote the episode. And TV critic Robert Lloyd had this to say about the pair’s collaboration here: “One senses that as writers, they’ve built themselves a playground to act in; both are phenomenal.”

It’s also worth noting that, a day after the episode’s release, FX confirmed the Emmy-winning series is coming to an end next month. Fans questioned the show’s fate when the fourth season concluded with its tortured but deeply ambitious head chef Carmy Berzatto (Jeremy Allen White) announcing he planned to leave the restaurant. So, yes, chef: When “The Bear” returns on June 25 for it’s fifth season, it will be the series’ last.

Guest Spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

(Emerson Miller / Paramount+)

A pair of “Yellowstone” siblings are keeping television screens supplied with Dutton drama. After “Marshals,” the CBS procedural that follows Kayce Dutton (Luke Grimes) as he leaves ranch life to join an elite U.S. Marshals unit in Montana, became runaway hit for the network when it premiered earlier this year, quickly earning a Season 2 renewal, the fictional character’s sister, Beth (Reilly), is poised for her spin-off debut. Joined by her husband Rip (Hauser) and their surrogate son Carter (Fin Little), the trio relocate to South Texas to escape the ghosts of the Yellowstone ranch and build a new life in “Dutton Ranch.” Managing a new 7,000-acre property, they encounter new friends (a compassionate veterinarian played by Ed Harris) and foes (a rival rancher played by Annette Bening). The nine-episode series premieres with two episodes on May 15. Ahead of the show’s launch, reports surfaced that Chad Feehan, the show’s creator and showrunner, would not return for Season 2. I spoke with Voros, a longtime collaborator of Sheridan, about how the new series is different from the mothership, whether its central couple parallels the epic love story featured in “The Madison” and the show’s she’s been watching. — Y.V.

How is “Dutton Ranch” different from “Yellowstone”?

“Yellowstone” was entirely about a family holding on to the legacy of a place, and “Dutton Ranch” is entirely about building a new legacy. From a spiritual sense, what is driving these characters is similar — it is the bond to family, it is protection of each other. But the landscape has changed. In many ways, what was about land in the mothership has alchemized into being about family in “Dutton Ranch” because that’s what is left. The land that has brought them to their knees in war for generations is no longer something that burdens them, but they are tasked with building a new life and protecting that new life that they have built.

What is it about Beth and Rip that struck a chord with “Yellowstone” viewers? And why do you think they are well–suited to stretch this TV universe?

Everyone loves a good love story and everyone loves an imperfect hero. When two people find each other and complete each other in a way that is both untraditional and heroic and romantic, it’s hard not to fall in love with them — and it’s hard to not want to fight for them and want to see them succeed. I’ve been with “Yellowstone” since the first season, and I remember very clearly being out there in Montana, making this crazy, big, ambitious TV show. And I remember, the next year, no one could go out to a restaurant in town without being accosted. Then the next year, there were Rip and Beth costumes at the store for Halloween. It takes a very special kind of actor to be able to carry that story and that character forward and to keep evolving, and to not become a caricature of themselves, but to grow not just the fictional person, but to also grow as an artist, to continue breathing life into that character. And I think Kelly and Cole have done so with with such grace and such a profound commitment to each other and to the show and to storytelling. They’re both EPs this season, and it’s so well-earned. It’s not just on face value. They have been in the trenches from the very beginning, really fighting for and protecting themselves and the DNA of the series.

I know, in theory, Taylor’s other series that you worked on, “The Madison,” is not in the same fictional universe. But at the heart of that series is this epic, once-in-a-lifetime romance. Do you see parallels? Do you think Preston (Kurt Russell), whose character loved visiting Montana, and Rip would have ever crossed paths? Would they have liked each other?

They would have enjoyed a beer together if they stumbled into each other at the same bar. I think the pursuits that feed their souls are different. Beth and Stacy would have ultimately gotten along after probably some kind of caustic series of remarks at the same bar.

I think there’s something about enduring love that is in both of those relationships. There are parallels in terms of the secrets that people carry, not necessarily nefarious ones, but sides of yourself that you don’t always see. I will say, Rip and Beth understand all the facets of each other in a way that is different from Stacy and Preston. The love story of “The Madison” is about two people who share everything but this one thing. Rip and Beth’s characters have also known each other since they were teenagers, and they have experienced most of each other’s lives together. If you look at Taylor’s writing, and maybe this comes from his own love story, he loves writing these strong romances, whether it’s Rip and Beth or Stacy and Preston. There are these grounding relationships that are formed by these volatile people, and it is fascinating to watch, and I think people find something familiar in them.

Ed Harris as Everett McKinney and Annette Bening as Beulah Jackson in “Dutton Ranch.”

(Emerson Miller / Paramount+)

The cast in the Sheridan TV universe are all pros. You’re also working with some major screen heavyweights — Kevin Costner, Helen Mirren, Harrison Ford, Michelle Pfeiffer, etc. In “Dutton Ranch,” you have Annette Bening and Ed Harris. What was the pinch-me moment?

I don’t even know where to start. Ed came into my office to chat at the very beginning, before we started prep. I just froze for a second; I lost my ability to speak like a normal human being. You have to forget that they are who they are in the beginning until you settle into a routine, otherwise you would be too awe-inspired to really do anything productive with your day. I feel so spoiled by the caliber of artists that I’ve had the opportunity to work with. I’m working with Sam Jackson right now on “Frisco King.” I look at the work that I’ve done with Michelle and Kurt, then Annette and Ed on this — it’s such an honor that artists of that caliber are excited to come play in these worlds. Everyday on set with Annette and Ed makes me a wiser director, makes me a smarter human being.

It was recently reported that Chad Feehan, the series co-creator, departed the series as showrunner. What was your collaboration with him like? And how do you think he handled setting the foundation for this series?

Writing a spin-off to “Yellowstone” comes with a tremendous amount of responsibility and a tremendous amount of opportunity. It’s a gift to be able to work with characters like Rip and Beth, and I think Chad did a wonderful job creating a world of characters for them to go toe to toe with in the Jacksons. The original DNA of the No. 1s on our call sheet was always there, but they are entering a new path and a new part of their own journey and worthy adversaries were needed.

OK, before I let you go, what have you watched recently that you are recommending to everyone you know?

“The Beast in Me” [Netflix], I thought was unbelievable. It’s not the kind of thing that I normally watch. I just finished watching “Imperfect Women” [Hulu]. I was so taken by the performances in both of those shows. I love “Hacks” [HBO Max], I love “Shrinking” [Apple TV]. I balance my dark thriller with comedy.

ICYMI

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Flights can be incredibly expensive, but this simple hack could get you free extra legroom in a bulkhead or exit row seat — just by asking one polite question at check-in

My first long-haul flight came at just three years old. When my family decided to emigrate from England to New Zealand, it meant I’d spend much of my childhood travelling between the two nations.

This is no minor journey – while people frequently complain about how far away Australia is from the UK, New Zealand is even further away.

At its quickest, the flight from London to New Zealand takes 23 hours, though depending on where your aircraft stops to refuel and the length of your stopovers, it can easily balloon to 36 hours or beyond.

As the years passed, I grew taller – and then exceptionally tall.

Now aged 31, I stand just under 6ft tall, and as a teenager, I wasn’t significantly shorter.

Attempting to squeeze myself into economy class seats became increasingly difficult with every additional inch I gained.

That’s precisely why these days, whenever I take a long-haul flight, I employ a strategy my mum taught me as an awkward, lanky pre-teen that significantly boosts my odds of securing a seat upgrade.

I must emphasise that this method doesn’t succeed every single time. Nevertheless, it does boast a fairly impressive success rate when executed properly – I’d estimate it’s worked in my favour roughly 70% of the occasions I’ve attempted it.

All you require is good manners, a friendly smile, and the confidence to handle potential disappointment. It’s simpler if you’re checking luggage, though it’s achievable without.

Whenever I check my luggage at the desk, I politely ask the staff member whether they have any bulkhead seats available or any rows with empty seats.

Even if I’m travelling without checked luggage, I’ll still join the queue and make an enquiry – frequently using the excuse of needing a physical boarding pass printed.

Being tall, I often point to my height and crack a self-deprecating joke about being squeezed into an economy class. If you’re polite and ask courteously, the results might surprise you.

I’ve been given entire rows to myself, exit row seats and bulkhead seats all at no additional charge simply because I asked politely.

This approach depends on fortune – if the aircraft is at full capacity, then it clearly won’t succeed, but occasionally flights have available seats and staff are willing to reassign you.

The crucial thing is not to become annoyed if the response is negative – always be gracious, thank the person at the desk for their time and proceed to your flight.